henry moore unpublished drawings
DESCRIPTION
ÂTRANSCRIPT
HARIN COUNTY FREE LIBRftRY
3111100257Q677
DAVID MITCHINSON
HENRY MOOREunpublished drawings
A B R A M S
J
In the work,great artist there is an area
that his public . dom sees—the notes, jottings,
and drawings that contain his finished creations
in embryo. These preparatory works are of the
utmost importance to the study of art history,
since they are often the key to the evolution of
a work of art, indicating how a particular artist's
vision is translated from germinal idea to final
form.
In the case of Henry Moore, one of the great
sculptors of our time, the discovery of more than
200 of his hitherto unpublished drawings is an
exciting event not only for its historical signif-
icance but for the aesthetic joy the drawings
evoke. Many of the sketches, taken from com-
prehensive notebooks and sketchbooks dating
from 1921 to 1970, will delight the viewer with
their independence as finished graphic statements,
for Moore experimented extensively with ink,
pencil, crayon, chalk, wash, and watercolor, alone
and in innovative combinations. But it is ulti-
mately Moore's purpose for these drawings that
both fascinates and overwhelms us; here are the
worksheets of his artistic vision, the raw material
from which evolved the Mother and Child sculp-
tures, the Reclining Figures, and the Family
Groups. Wherever possible, the sculptor's written
notations to the sketches have been included,
since they alTord a still deeper understanding of
Moore's intense involvement with his subjects.
David Mitchinson's text adds a historical frame-
work for the drawings, relating them to trends
in Moore's art and to specific finished sculptures,
thus extending the exploration of Moore's creative
process so provocatively invited by the drawings
themselves.
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741.942 Moore, tici..^ Spencer, 1898-
Henry Moore unpublished drawings. Textby David Mitchinson. N.Y., Abrams [1971]
212p. illus.
MARIN COUNTY LIBRARY
1. Moore, Henry Spencer, 1898-
I. Mitchinson, David II. TitleLW 11/72 76-164711
HENRY MOOREunpublished drawings
HENRY MOOREunpublished drawings
text by DAVID MITCHINSON
HARRY N. ABRAMS, INC., PUBLISHERS, NEW YORK
Standard Book Number: 8109-0330-X
Library of Congress Catalogue Card Number: 76-164711
All rights reserved. No part of the contents of this book may be
reproduced without the written permission of the publishers
Harry N. Abrams. Incorporated, New York
Printed and bound in Italy
by Pozzo Gros Monti S.p.A., Turin
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E. G.
INTRODUCTION
Much has been written—and published—by well-known and distinguished
scholars on the artistic creations of Henry Moore. I can add nothing to
what has already been said concerning the greatness and universal character
of his art, but these hitherto unknown drawings—constituting a ''private
journal " of the artist's ideas and inspirations—will certainly provide a
deeper understanding of Moore's creativity.
The opportunity to publish this extraordinary collection suddenly presented
itself one day last winter. I was visiting the sculptor at his house in MuchHadham in connection with a projected book, comprehensive in scope, that
was to cover his work in all its variety, range, and directions of development.
After many strenuous hours of visiting his '^workshops'' together, we were
enjoying a restful pause. It was for me a highly emotional experience to
be in his presence, although a handshake on meeting had been sufficient to
put me altogether at my ease. The living room, containing so many mar-
velous works of art and wonderful books, enveloped me in its singular, its
unique atmosphere. All that I saw around me roused my interest and
curiosity. While examining the books on the shelves, I unexpectedly came
upon several groups of notebook sheets covered with drawings—sketches
and ''notes." The discovery was a happy one indeed—/ realized at first
sight that these drawings filled in the gaps in my knowledge of the labors
through which the artist's greatest works had been conceived and carried
out. It was as if the artist himself here acknowledged and revealed the
various successive stages in his realization of an inspiration. With profound
excitement I perceived that the enormous vitality peculiar to Moore the
man was no less vividly expressed in the sketches I was now examining.
At once I asked Moore whether he had ever thought of publishing the
drawings, and suggested to him that this important material should be col-
lected and issued in the form of a book. Now the volume awaits the
reader's examination.
Turin, 1971 EziO Gribaudo
Since the early nineteen-fifties, Henry Moore has very seldom used drawings or
sketchbooks to formulate ideas for his sculptures. There are no pages of preliminary
studies for the King and Queen, the Warrior figures, the Locking Piece, or any of the
more recent monumental marble carvings. There have been a few sketches connected
with the UNESCO Sculpture and the Two-Piece Reclining Figures, but otherwise where
drawings have been made they have had little direct relationship to the sculptures, and
since 1961 have often been associated with ideas for lithographs and etchings.
Now his final sculpture is arrived at, not two-dimensionally by drawing the figure
on paper, but straightaway three-dimensionally, by making it in the hands and creating
a small maquette which can then, in the artist's mind, be any size he imagines, and which
he can hold, and study from all points of view. By this method of modelhng on a small
scale, using some pliable material such as clay, wax, or plaster, he can create and develop
a three-dimensional idea right from its conception, and thereby explain, in one maquette,
the shape or form of something which would probably be difficult to explain in twenty
or thirty drawings. This method of working has taken many years to evolve and the
illustrations in this book have been selected to show the progressions in Moore's art,
through his sketches, from 1921 to the present day.
In 1919, at the age of twenty-one, Moore was demobilised from the army and given
an educational grant which enabled him to study at the Leeds School of Art. Years earlier,
he had expressed a desire to become a sculptor; now he had been given a chance.
Quite quickly, though, he became dissatisfied with the limited outlook of the teaching.
Academic tuition in sculpture in those days meant copying classical and pseudoclassical
figures. Luckily, while at Leeds, Moore was invited to see the collection of Sir Michael
Sadler, the Vice-Chancellor of the university, which included Post-Impressionist paint-
ings and a few examples of African sculpture.
At an early stage Moore realised how important drawing was for a sculptor, and
that all the best sculptors of the past, such as Michelangelo, Bernini, and Rodin, were
as proficient in drawing as any of the great painters. He was aware that if one was
unable to draw form three-dimensionally, one would be unable to model it—if one
can't see form, one can't understand it; and if one can't understand it, one can't draw it.
After two years at Leeds, Moore came to London to study at the Royal College
of Art. The earliest extant notebook (1921/22) dates from this first year in London.
IX
From then until 1928 there remain five notebooks and also a small number of loose
pages, which are witness to there having been perhaps two others. All the books at this
period have hard covers and are roughly the same size; originally they each contained
about one hundred pages. Unfortunately, many pages have worn faint, or have been
torn out and destroyed. Others, through mishandling, have become separated from their
notebooks, and the sequences of many ideas have been lost. However, those that
survive are quite sufficient to make clear two important points. First, what Moore wasdoing under training at the Royal College of Art. Second, and more important, whatwas interesting and influencing him as an individual.
In those days the students at the Royal College were set sculpture projects to prepare
in their own time, and so in the first notebooks we see Moore attempting to solve these
projects by drawings which could afterwards be translated into sculpture, often in the
form of a relief. We also see small sketches, sometimes no bigger than half an inch
high, hidden on a page among many other images; these are the first drawings for
sculpture and include ideas for such carvings as Snake, 1922 (plate 10), and Mother and
Child, 1925 (plate 29).
The early notebooks, in contrast to those of a few years later, contain many drawings
not directly connected with sculpture. There is in them a great awareness of life in
general; a tremendous amount of what interested him seems to have been recorded.
Along with copies of figures from the paintings of old masters (Rubens in plate 3) are
little scenes involving animals (plates 1, 2, 14, 47), notes on sculpture (plate 17), and
friends at the college (plate 39).
Having read Roger Fry's book Vision and Design while at Leeds and through it
become aware of African and Mexican sculpture, it is not surprising that soon after
his arrival in London, Moore made the first of many visits to the British Museum
—
where he filled notebook pages with drawings of African, Cycladic, and Pre-Columbian
art (plates 19 and 20). He spent most weekends during his first year in London at the
British Museum copying, assimilating, modifying, and making notes of what he found
interesting. At this time he saw photographs of an Aztec idol, the Chacmool, a reclining
figure that has had enormous influence over his own reclining-figure compositions.
There was an immediate conflict between what he was being taught and what he
was finding out for himself at the British Museum. He would probably have left the
college if he had not had the encouragement of Sir William Rothenstein, the Principal.
In 1923 Moore made his first visit to Paris and saw the Cezanne paintings in the Pellerin
Collection; Les Grandes Baigneuses must have had a considerable impact, as we find
copies and adaptations of it in the No. 3 Notebook. Soon after this he won a travelling
scholarship from the college to Italy.
On his way to Italy, Moore spent a few days in Paris, and there survive drawings
made in the Musee Guimet and the Musee de I'Homme.
In Italy he was at once impressed by the masters of the early Renaissance—Giotto,
Giovanni Pisano, and Masaccio. No. 3 Notebook contains sketches after Giotto (plates
25-27), and he later made drawings from Mantegna and landscapes of the environs of
X
Florence. The deepest effect on him came from studying the frescoes by Masaccio in
the Brancacci Chapel of the Church of the Carmine in Florence. The monumentality,
simplicity, and solidity of these figures are echoed throughout Moore's own work.
On returning from Italy, Moore joined the teaching staff at the Royal College of
Art, where he encouraged the students to do more life drawing and where he introduced
direct carving of the wood or stone.
Moore's notes surrounding nearly all his sketches at this period are concerned with
sculptural problems. He writes, ".. . each work to live in its own atmosphere, each work
a creation not an invention," and ".. . effect to be gained by contrasts of masses and
planes, not by features."
It would be a mistake, of course, to assume that all his drawing at this time was
crammed onto the small pages of a notebook. Concurrently with these notebooks
Moore was developing his life drawing. He drew from life to observe and familiarize
himself with the human figure, to understand its construction and its emotional expression.
Also in his life drawing he was learning the actual science of drawing, that is, of showing
on a flat surface the three-dimensional shape of an object by means of hght and shade
(planes turned towards or against the source of light) and by linear perspective
(diminution by distance). Of all the influences on his work, the continuing study of the
human figure is the most important.
In 1928 comes the Underground Relief Sketchbook. This is the first book devoted
entirely to drawings for sculpture; there are ideas for wood carvings (plates 57 and 58),
pages of ideas for the North Wind Relief (plates 60 and 61). Most important are the
studies for the Reclining Figure, now at Leeds City Art Gallery (plates 55 and 56), which
show a clear influence of Chacmool and at the same time the beginnings of Moore's
process of "opening-up" and "opening-out" forms with holes, depressions, projections,
concavities, and tunnels. This opening-up process takes ten years to develop, and can
be followed in the illustrations to the Reclining Figures of 1935/36 (plate 121), and then
on through a drawing of the elmwood Reclining Figure of 1939 (plate 139) to the family
groups of the post-war years.
The first sketchbook of the nineteen-thirties contains many drawings of the
Composition, 1931, in green Hornton stone (plate 85). In 1930 comes the series of sketches
on Royal College of Art notepaper (plates 77-82); Moore says these were done while
marking his students' work in the staff-room, and it is interesting to note that they are
all drawn with pen and ink. In some of these doodle-like studies, the pen touches the
paper at one point and doesn't leave it again until the page is covered.
About 1930 he scatters out his ideas over the paper, in some cases so many on one
page that it is difficult for the eye to focus on each of them individually; for this reason
some of the illustrations shown in this book are details, to enable the viewer to see
particular things of interest more clearly. Moore says, "If you begin drawing in a sketch-
book with the idea of tapping yourself for ideas, sometimes they come so many and
so easily that to stop and judge them would be silly. One must let them happen and
judge them in a week, a month, or two months, and then pick out from that little set
XI
of suggestions those that still mean more than any of the others. '" This becomes clear
when one looks at a page of sketches. Quite often it is noticeable that one or two ideas
on a page have been re-worked or outlined in a different medium or, more simply, markedwith an asterisk or ticked. These are the ones singled out for elaboration, enlargement,
or possible development into sculpture (plates 73 and 129).
By 1931 Moore was in a more established position; he married Irina Radetzky in
1929, and she has been a constant support to him ever since. Also by 1931 he had held
two one-man exhibitions. In the same year he left his teaching post at the Royal College
of Art to teach two days a week at the Chelsea School of Art, where he started the sculp-
ture school and stayed until 1939.
The one major aspect of Moore's art not yet mentioned is his love of nature. This
includes an interest in and knowledge of rocks, shells, trees, clouds, landscape, pebbles,
and bones (plate 90), which after having been carefully drawn are transformed by the
artist into creations of his own. This process led directly to Composition, 1933, in lignum
vitae wood, which is based on a bone drawing of 1932 (plate 91), and to many later
works, such as Standing Figure: Knife-Edge and the 'Three-Piece Vertebrae" sculptures
of the nineteen-fifties and -sixties.
By the end of 1932 all the major threads of influence shown in the early sketches
had been drawn together: the observations from life drawing, the traditions of early
Renaissance art, the impact of non-European images on an occidental mind, and a love
and understanding of nature. For the next seven years the sketches show how these
influences are used and developed beyond themselves into works produced by a clear,
open, and original intellect.
The transformation drawings recur throughout the middle thirties. In the Sketch-
book B of 1935 we find bone forms freely translated into a Reclining Figure (plate 118),
or a Mother and Child (plate 112) juxtaposed with drawings of "Square Forms"" and
the beginnings of the "Internal/External"' ideas (plate 114).
In 1934 (plate 101) we see ideas for sculpture to be made in several pieces. The same
year Moore starts a process of making some sketches for pictorial drawings rather than
for sculpture. Sometimes an idea is taken from a page and used in a large drawing with
other ideas from different sources, sometimes it is carefully completed in the sketch and
a square grid drawn over it to give the artist proportions for enlargement. This process,
which reaches a climax during and immediately after the war, is taken a stage further
when Moore uses the sketch as a basis for both a finished drawing and a sculpture.
Between 1934 and 1936 come the sketches of "Square Forms" reminiscent of Stonehenge.
These are ideas for sculptures carved in stone, and are also used in the first drawings
of forms in pictorial settings.
Rather than have his ideas alone on a page Moore invents settings for them to exist
in, either interiors or landscapes. He wrote, "There is a general idea that sculptors'
drawings should be diagrammatic studies, without any sense of a background behind
the object or of any atmosphere around it. That is, the object is stuck on the flat surface
of the paper with no attempt to set it in space—and often not even to connect it with
XII
the ground, with gravity. And yet the sculptor is as much concerned with space as the
painter. Any wash, smudge, shading, anything breaking the tyranny of the flat plane
of the paper opens up a suggestion, a possibility of space."
As we move into the late thirties this development is taken up with each successive
set of new ideas. Square forms, surrealist abstract compositions, reclining figures, stringed
figures, ideas for sculpture in stone, metal, wood, lead, and string, each in turn is drawn
first on a sketchbook page, sometimes with a background already added (plates 131, 132,
and 139). Then the best is taken out and developed in full-scale drawings with spatial
settings, and finally worked out as a sculpture. This development in three stages through
sketch, drawing, and sculpture can be followed from the "Four-Piece Compositions" of
1934 to the "Internal/External" forms. The last pages before the outbreak of the Second
World War show sketches of Upright Internal!External Forms (plate 140), ideas which
were soon developed as pictorial drawings but did not materialise as sculpture until 1952.
Henry Moore's war sketches have been deliberately left out of this book. They are
too numerous and too inseparable to have been illustrated properly here, and have been
adequately covered elsewhere. However, the Coalmine and Shelter sketchbooks were to
have a major effect on what was to follow, and one page of notes made at the beginning
of the war is included, to remind the reader of their importance (plate 143).
The war drawings, especially the Shelter studies, caught the public imagination both
in the United Kingdom and the United States, where they were sent for exhibition.
One result of all this was that far larger numbers of people were made aware of Moore's
work in general. After the war drawings were finished Moore again started his sketch-
books of ideas for sculpture. There was now a demand from America for drawings and
many individual pages were taken out, used in exhibitions, and later sold. None of the
sketchbooks from the immediate post-war years seem to have survived intact.
The ideas put down in the pre-war sketchbooks had simply been the thoughts and
dreams of the artist; they were private, personal, and not for sale, but could be used
when needed to supply information for large drawings and sculpture.
Many of the sketches drawn after the war became highly finished works in themselves,
with more materials used giving greater variety on the page (plates 164, 169-172). This
is perhaps a result of the two years of war drawings, where most of the sketches were
pictorial conceptions before being developed as finished pictures. In the twenties and
thirties a sketch would have been drawn in pencil, chalk, or pen and wash, all mono-chromatic mediums; very seldom was any variety of colour used.
Since 1938 Moore had been developing a technique, in his large finished drawings,
of working with wax crayons in combination with watercolour and pen drawing. The
watercolour did not mix with the wax and only covered the paper that was wax free.
Moore used this technique in his war sketches. He would draw his subject generally
with light-coloured wax crayons, then cover the whole paper with watercolour to give
depth of background. This done, the forms and details could be defined by pen-and-ink
drawing. Moore continued using this technique after the war for most of his sketches
up to 1951, and has occasionally gone back to it since (plates 170, 171, 176, 194),
XIII
Almost no sketches for sculpture exist from 1940/41, but in 1942 a notebook full of
ideas for reclining figures appears. These include sketches for the elmwood Reclining
Figure of 1945, which is directly related to Moore's elmwood figures of the thirties.
But there is also a new element—studies for reclining figures with drapery, which find
immediate expression in the Dartington Memorial Figure of 1945, and ultimate fulfilment
in the draped reclining figures of the middle nineteen-fifties. Moore had made shght
use of drapery many years previously, mainly in life drawing, but never before with
such eff"ect in drawings for sculpture. The influence of the draped and clothed figures in
the Shelters becomes clear. In the sketches and then in the sculptures the drapery becomes
part of the object. One knows that if it were stripped away the forms underneath would
still remain, not shapeless and ill-defined, but real and solid. Somehow the drapery has
become a grafted, protective shield, covering a form, emphasizing and explaining, but
never disguising it.
The reclining figures were followed in 1943 by sketches of the Madonna and Child.
Within the year Moore had made numerous maquettes of these in terracotta. Most of
the reclining figures that preceded and the family groups that followed were likewise
developed as terracottas before the best of them were chosen for enlargement. From this
time begins the artist's preference for making and using maquettes rather than drawings
when working out ideas for sculpture. It is also the first time he uses drawings to devise
images for printed graphic work, the first of which are assorted abstract motifs (plates
148-150).
Moore developed the '"Family Group" from the Madonna and Child studies.
The idea of adding a male figure came from the Coalmine drawings where Moore had been
impressed by the power of the male torso, and the idea of making a group in sculpture
came from the huddles of people in the Shelters. While still working on these groups
Moore's daughter Mary was born and the theme of the family became an obsession.
After Mary's birth came the very tender sketches of the Mother and Child—Irina and
Mary—(plates 158-160). In these drawings, for the first time since the war, Moore did not
use his wax and watercolour technique.
After the sketchbook which contains the studies for the Helmet Heads (plate 163),
with one exception there are no more completed notebooks of ideas for sculpture for
the rest of the decade. The exception is the Heads, Figures, and Ideas Sketchbook of
1953/56. This and the drawings that are connected with it, done at the same time, seem
to have more in common with the sketchbook pages of the early twenties than with
the sculptures of their own period. There are pictorial studies of events that have
interested the artist, ideas for a Crucifixion sculpture, and most amusing records of
Mary's childhood. This sketchbook has since been broken up to provide material for
an illustrated book.
After 1950 Moore becomes completely involved with sculpture and does very little
drawing. The other sketches that exist from the nineteen-fifties are drawn on single
sheets of paper, like Standing Figures, 1952 (plate 176), and Seated Figures, 1957 (plates
185 and 186), rather than in sketchbooks.
XIV
In 1959 Moore makes a small series of chalk and watercolour drawings of stone
forms and seated figures that are related to the square forms of the nineteen-thirties.
Then between 1961 and 1970 come the reclining figures and sculptural motifs that
have been used as a source of ideas for lithographs and etchings. These are executed
in brightly coloured inks, watercolour, and ballpoint pen. Moore says, "When one is
young, one has lots of influences mixed up in one's mind so that drawing was a means
of generating ideas and also of sorting them out. Now I find that when what seems to
me a good idea comes, I recognise it a lot quicker than perhaps I used to do."
Drawing for Henry Moore has now become more of a pleasure than a necessity,
especially since he discovered how enjoyable it is to draw with an etching needle on
a copper plate. This latest development in his work, shown here in the pen exercises
and related drawings of 1970, has already produced one outstanding masterpiece, the
Elephant Skull Portfolio. This is the most important and original two-dimensional work
Moore has produced for two decades, and can be seen as a culmination and a contin-
uation of half a century of constant observation, the foundations of which can be
traced back to the pages of the very first notebooks.
David Mitchinson
XV
NOTE : The dimensions given in the captions refer to the sizes of the original sheets ordetails, and not to the reproductions in this book. Where known, the original source(notebook, sketchbook, or series) of each drawing has been included. The variation in
size of the pages from the same notebook or sketchbook is the result of pages beingtorn out years ago and the rough edges trimmed.
THE DRA WINGS
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1 Studies of Goats - 1921
Pen -63/4x8 3/4 ins.
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2 Studies of Goats - 1921
Pen - 6 314 y. 8 3/4 ins.
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3 Detail of page from No. 2 Notebook - Woman Playing with Her Child - 1921/22Pen -4x63/4 ins.
4 Detail of page 28 from No. 2 Notebook - Standing Figure, Back View - 1921/22
Pen {sepia ink) - 6 112 x 4 ins.
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5 Page 31 from No. 2 Notebook - 1921/22
Chalk -83/4x6 3/4 ins.
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6 Page 51 from No. 2 Notebook- Figure Climbing over Rock, Mother with Child - 1921/22
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Pen -83/4x6 3/4 ins.
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Chalk, pencil, and sepia ink - 8 314 x 6 314 ins.
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9 Page 55 from No. 2 Notebook - Ideas for Animal Sculpture - \91\illPencil - 8 314 X 6 3/4 ins.
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10 Detail of page 81 from No. 3 Notebook - Drawing for " Snake'' - 1921/22
Pen - 3 518 X 6 3/4 ins.
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11 Detail of page 81 from No. 2 NotebookBlue ink -51/4x6 3/4 ins.
Figures - 1921/22
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12 Page 86 from No. 2 Notebook - Standing Figure and Baby'a Heads - 1921/22
Pen and pencil - 8 3/4 x 6 3/4 ins.
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13 Page 88 from No. 2 Notebook - Heads - 1921/22
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14 Page 91 from No. 2 Notebook - Sheep - 1921/22
Pencil and pen -83/4x6 3/4 ins.
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15 Page 93 from No. 2 Notebook - 7Vore5 on Sculptural Subjects - 1921/22
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16 Page 25 from No. 3 Notebook - Composition of Two Hands - 1922/24
Pencil and chalk -87/8x6 3/4 ins.
17 Detail of page 28 from No. 3 Notebook - Composition of Two Figures - 1922/24
Pen and pencil -23/8x3 114 ins.
18 Page 54 from No. 3 Notebook
Pen and pencil - 8 718 x 6 3/4 ins.
- Composition of Figures - 1922/24
19 Page 102 from No. 3 NotebookPencil and chalk - 8 718 x 6 3/4 ins.
Ideas from Negro Sculpture - 1922/24
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20 Page 105 from No. 3 Nbtebook - Negro Sculpture - 1922/24
Pencil -9x63/4 ins.
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21 Pages 114 and 115 from No. 3 Notebook - Ideas for Sculpture - 1922/24
Pencil - 8 718 X 13 1/2 ins.
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22 Detail of page 116 from No. 3 Notebook - Mother and Child - 1922/24
Pencil -71/4x4 1/4 ins.
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23 Page 126 from No. 3 Notebook
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- Ideas for Sculpture - 1922/24
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24 Page 137 from No. 3 Notebook - Studies from Picasso - 1922/24
Pencil -87/8x6 3/4 ins.
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25 Page 181 from No. 3 Notebook - Study from Giotto - 1922/24
Pencil - 6 112 X 6 3/4 ins.
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26 Page 185 from No. 3 Notebook - Heads Studies from Giotto - 1922/24
Pencil - 8 718 y. 6 3/4 ins.
27 Page 189 from No. 3 Notebook
Pencil - 8 718 X 6 3/4 ins.
- Studies from Giotto - 1922/24
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28 Page 214 from No. 3 Notebook - Notes on Sculptural Subjects - 1922/24
Pencil - 8 718 X 6 3/4 ins.
CXJa ''•^^—-« r-> ir,v^Xi-^ rv vt»_,
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29 Page 23 from No. 4 Notebook
Pencil and wash -9x67/8 ins.
Mother with Child on Back - 1925
30 Page 37 from No. 4 Notebook - Figures - 1925
Pencil -9x67/8 ins.
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31 Page 59 from No. 4 Notebook - Standing Figures - 1925
/*e/7, pencil, and black ink -9x6 7/8 ins.
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32 Page 130 from No. 4 Notebook - Standing Figures - 1925
Pe/j a«rf pencil -9x67/8 ins.
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33 Detail of page 140 from No. 4 - Head, Bust, and Arms - 1925
Pencil - 3 118 X 3 112 ins.
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34 Detail of page 172 from No. 4 Notebook - Branches of Trees - 1925
Pencil - 7 X 6718 ins.
xV'/.v ft
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35 Detail of page 174 from No. 4 Notebook - View of the Arno - 1925
Pen - 4 118 X 6 7/8 ins.
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36 Page 175 from No. 4 NotebookPen and pencil -9x6 7/8 ins.
- Notes on Italian Painting - 1925
37 Detail of page from sketchbook - Mother with Child on Back - 1925
Pen and pencil - 6 Ijl X J 7/2 ins.
38 Detail of page from sketchbook - Standing Figure and Hand - 1925Pen, wash, and pencil - 7 718 X 5 ]/2 ins.
39 Detail of page from sketchbook - Head of Mrs. Raymond Coxon - 1925
Pen, wash, and pencil - 7 718 x 5 1/2 ins.
'-,\t<J-A^ - %i^tr-
40 Detail of page from sketchbook - Heads - 1925/26
Pen -41/4x6 3/4 ins.
0"''
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41 Detail of page from sketchbook - Heads - 1925/26
Pencil - 4 112 X 6 3j4 ins.
42 Page 43 from No. 5 Notebook - Reclining Figure - 1925/26
Pencil and chalk -63/4x8 3/4 ins.
^t^
43 Page 75 from No. 5 Notebook - Half Figure - X^l'bll^
Pencil, chal/c, and wash -83/4x6 3/4 ins.
44 Inside cover pages of No. 6 Notebook - 1926
Pen and pencil - 8 718 x 13 3j8 ins.
^-r- a^t/.t«.*t UnrtxK^
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45 Page 1 from No. 6 Notebook - Negro Sculpture - 1926
Pencil -83/4x6 1/2 ins.
46 Detail of page 29 from No. 6 Notebook - Half Figure, Seated Woman - 1926
Blue ink - 7 x 5 1/2 ins.
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47 Detail of page 35 from No. 6 Notebook - The Dog Fight - 1926
Pen -51/2x6 ins. approx.
(S)
48 Page 51 from No. 6 Notebook - Reclining Figures - 1926
Pencil -83/4x6 3/4 ins.
» ^uJU^—^ F^-Cv-^ - 4
49 Page 57 from No. 6 Notebook - Ideas for Sculpture (Reclining Figure) - 1926
Pencil -83/4x6 5/8 ins.
50 Detail of page 72 from No. 6 Notebook - 1926
Pencil - 61/4 x 6 3j4 ins.
(^
51 Page 74 from No. 6 Notebook - Female Figure - 1926
Pencil and wash -87/8x6 3/4 ins.
52 Detail of page from " Underground " Relief Sketchbook
Black ink and pencil ~ 2 1/2 x 8 112 ins.
Reclining Figure - 1928
pi/>/{fe* ivv^ ^^-f-^
53 Page from " Underground " Relief Sketchbook - Reclining Figures - 1928
Black ink -9x71/8 ins.
54 Detail of page from " Underground " Relief Skcichhook- Standing Figure, Relief- 1928
Pencil and wash - 7 1/2 x 5 ins.
\U'^yu/, j,7 (^o,''4_ t<[/j»4.-
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55 Page from " Underground " Relief Sketchbook - Subjects for Garden Reliefs - 1928
Pencil -9x71/8 ins.
^;;r;
56 Detail of page from " Underground " Relief Sketchbook - Reclining Figure - 1928
Pencil - 3 X 5 1/4 ins.
57 Detail of page from " Underground " Relief Sketchbook - Idea for Wood Relief- 1928
Black ink - 3 318 X 7 3/4 ins.
58 Page from " Underground" Relief Sketchbook - Ideas for Wood Reliefs - 1928
Black ink -71/8x9 ins.
> z
59 Page from " Underground " Relief Sketchbook - Three Reclining Figures - 1928
Green chalk and ink - 9 y. 7 ins.
\
60 Ideas for " North Wind " Relief - 1928
Pencil, chalk, and wash -9x6 ins.
61 Ideas for " North Wind " Relief
Pencil, chalk, and wash -9x6 ins.
1928
62 Reclining Figures - 1928
Pencil - 7 718 x 11 7/8 ins.
63 Reclining Figures - 1928
Pencil - 7 1/4 X II 3/4 ins.
64 Ideas for Sculpture - Reclining Figures - 1928
Pencil - H 314 x 7 1/4 ins.
65 Fragment from sketchbook - Reclining Figures - 1928
Pencil - 4 314 X 4 314 ins.
66 Idea for Sculpture - Half Figure - 1929
Black ink and pencil - 11 518 x 9 112 ins.
67 Ideas for Sculpture - Mother and Child - c. 1928/29
Red pencil and wash -5x8 1/8 ins.
68 Drawing for Sculpture - Seated Mother and Child - c. 1929
Wash and chalk - 10 1/8 X 8 ins.
69 Drawing for Sculpture - Mother and Child - c. 1929
Black ink and wash - 10 1/8 x 7 7/8 ins.
70 Drawing for Sculpture - Mother and Child - c. 1929
Black ink - 7 112 x 5 7/8 ins.
71 Drawing for Sculpture - Seated Figure - c. 1929
Black ink and wash - 10 118 x 7 7/5 ins.
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73 Ideas for Sculpture - Masks - c. 1929
Pencil - 5 JI4 X 5 1/2 ins.
M 72 Ideas for Sculpture - Seated and Reclining Figures - 1929
Indelible pencil -93/8x8 ins.
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74 Ideas for Sculpture - c. 1930
Pen, pencil, chalk, and wash - 4 118 x 10 314 ins.
1^0 /-^
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75 Ideas for Sculpture - Heads - c. 1929/30Pencil -77/8x6 J/4 ins.
VdA^.4
76 Detail of page from sketchbook - Heads - 1930
Crayon -5x4 ins.
ROYAL COLLKGE OF ART,
SOUTH KENSINGTON,
LONDON, S.W.7.
Telephone: WetUrn 6371.
77 Drawing for Sculpture - Three-Quarter Figure - 1930
Pen -71/8x4 3/8 ins.
HON AL ('OLLK(iK OF ART
S( )n H K ENS] NGT()N
,
LONDON, S.W.T.
TeUvhone: Western 6371
78 Ideas for Sculpture - Two Reclining Figures - 1930
Pen - 7 118 X 4 Ijl ins.
79 Ideas for Sculpture - c. 1929/30
Pen - 7 JI4 X 4 112 ins.
80 Ideas for Sculpture - 1930
Pen - 7 118 X 4 318 ins.
81 Ideas for Sculpture - 1930
Pen - 7 118 X 4 1/2 ins.
I
82 Ideas for Sculpture - Three Reclining Figures - 1930
Pen - 6 112 X 4 112 ins.
•^V— ^4/ty7^^^^ luxn^^sttX^W^^
83 Ideas for Sculpture - Mother and Child - 1930
Pencil - 7 718 x6 1/4 ins.
84 Page from sketchbook - Two Reclining Figures - 1930/31
Pencil - 8 X 6318 ins.
3r
85 Page from sketchbook - Ideas for Sculpture - 1930
Pencil -63/8x8 ins.
86 Page from sketchbook - Ideas for Sculpture - 1930/31
Pencil - 6 318 X 8 ins.
87 Ideas for Sculpture - 1930
Chalk, pencil, and wash -77/8x9 3/8 ins.
88 Idea for Sculpture - Reclining Figure - 1932
Pencil - 2 314 X 3 113 ins.
ihr
^'^ rPi"^32-
89 Study for Wood Carving and Bone Forms - 1932
Pencil - 7 1/16 x 5 3/8 ins.*
90 Transformation Drawing - Lobster Claw - 1932 ^Pen and pencil -11x7 ins.
Private Collection
r^^f* ii-I
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91 Ideas for Sculpture - Transformation Drawing - 1932
Pencil - 9 J/4 X 7 3/4 ins.
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92 Ideas for Sculpture - Transformation Drawing
Pencil - 9 114 X 6718 ins.
- 1932
hs
7 7
93 Ideas for Sculpture - Transformation Drawing - 1932
Pencil -9x77/8 ins.
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494 Ideas for Sculpture - Transformation Drawing - 1932
Pencil - 9118 X 7 7/8 ins.
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9
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95 Ideas for Sculpture - Mother and Child - 1933
Pencil -4x61/2 ins.
96 Ideas for Abstract Compositions with Holes - 1933
Pencil - 6 118 X 4 7/8 ins.
i.|V(,wvjLwi/''tVw#*^-v l^JLA-j
r1
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97 /^efl5 for Sculpture - 1933/34
Pe/iciV -83/4x7 ins.
^IxqX ^ u^"^*^
98 Ideas for Sculpture - Sheet of Wood Carvings - 1934
Pencil - 8 114 X 5 1/4 ins.
99 Page from Notebook - Ideas for Sculpture - 1933/35
Pen - 9 112 y.7 J/S ins.
100 Page from Notebook - Ideas for Sculpture - 1933/35
Pen - 9 112 X 7 1/8 ins.
/t- — 1',
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101 Page from sketchbook - Drawings for Wood Constructions - 1934Pencil - 10 718 x 7 318 ins.
102 Page from " Square Forms " Sketchbook - Ideas for Sculpture - 1934
Chalk and red wash - 10 5/8 x 7 118 ins.
/
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103 Detail of page from "Square Forms" Sketchbook - Ideas for Sculpture - 1934
Black chalk -53/8x7 IjS ins.
104 Ideas for Sculpture - Two Forms - 1934/35
Black chalk - 10 3/4 x 7 114 ins.
105 Detail of page from Sketchbook - Idea for Sculpture - 1934/35
Pencil -41/2x2 1/4 ins.
106 Ideas for Stone Reclining Figures with Pedestals
Ink, crayon, and wash - 10 5/8 x 7 114 ins.
- 1935
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107 Page from Sketchbook B - Ideas for Sculpture - 1935Pencil -51/2x8 1/2 ins.
108 Page from Sketchbook B - Ideas for Sculpture - 1935
Pencil - 8 314 X 5 Ij2 ins.
109 Detail of page from Sketchbook B - Head - 1935
Pencil -51/8x3 1/4 ins.
110 Detail of page from Sketchbook B - Transformation Drawing - 1935
Pencil -23/4x4 ins.
•
•
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111 Detail of page from Sketchbook B - Half Figure {Transformation Drawing) - 1935
Pencil - 5 112 X 2 3/4 ins.
112 Detail of page from Sketchbook B - Mother and Child - 1935
Pencil - 4 112 X 2 3/8 ins.
'•N^K
113 Detail of page from Sketchbook B - Draped Reclining Figure - 1935
Pencil and chalk - 5 1/2 x 6 3/4 ins.
.X\
114 Page from Sketchbook B - Forms Inside Forms - 1935
Pencil - 8 112 y. 5 1/2 ins.
V
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115 Detail of page from Sketchbook B - Transformation Drawing - 1935Pencil -31/4x4 ins.
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116 Detail of page from Sketchbook B - Ideas for Sculpture - 1935
Pencil - 5 114 X 5 ins.
L
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117 Detail of page from Sketchbook B - Ideas for Sculpture - 1935
Pencil -33/4x5 112 ins.
l^vviC._ './^'^-^yN
118 Page from Sketchbook B - Reclining Figure (from Bone) - 1935
Black chalk and pencil - 5 JI2 x 8 3/4 ins.
119 Detail of page from Sketchbook B - Square Forms - 1935
Chalk, pen, and wash - 3 1/2 X 4 1/4 ins.
r u^U^^ Kj
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120 Page from sketchbook - Ideas for Sculpture - 1935/36
Pen and pencil - 10 3/4 x 7 7/5 ins.
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121 Ideas for Sculpture - Reclining Figures - 1935/36
Pencil - 9 JI8 X 7 J18 ins.
122 Detail of page from Sketchbook with " Square Forms " - Standing Figure - 1936
Black chalk and red wash - 5 JI4 X 3 5/8 ins.
123 Detail of page from Sketchbook with " Square Forms " - Idea for Sculpture- 1936
Black chalk -7x33/8 ins.
124 Page from Sketchbook with " Square Forms " - Three Forms - 1936
Black chalk and wash - 10 1/8 x 7 ins.
125 Page from Sketchbook with " Square Forms " - Four Reclining Figures - 1936
Chalk, pen, and wash - JO 1/8 x 7 ins.
f- .
126 Detail of page from Sketchbook with " Square Forms " - 1936
Black chalk and red wash - 4 718 y, 7 ins. detail
127 Detail of page from Sketchbook with " Square Forms " - 1936
Black chalk and red wash -51/4x3 3/8 ins.
128 Lyre Birds - 1936
Pen, pencil, and wash - 8 112 x 7 ins.
^^'^•j5^
129 Ideas for Sculpture - 1936
Pencil - II 1/4 X 9 3/4 ins.
130 Sculptural Objects - 1937
Chalk - 10 15116 x 7 7/2 ins.
Private Collection
T^f t*-^
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131 Page from sketchbook - Ideas for Sculpture - 1937
Pencil - JO 1/4 x 5 1/8 ins.
i^'>l
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132 Page from sketchbook - Ideas for Sculpture - 1937
Pe«c// - 70 7/4 X S 7/S mj.
133 /^eat5 /or Sculpture - 1937
Pe« - 10 518 X 6i/^ //w.
134 Ideas for Sculpture - 1937
Pen - 10 318 x 7 ins.
n135 Ideas for Stone Sculpture - 1937
Pen and black chalk - II l/S x 8 3/4 ins.
p4***V^,^ JLt^t i
-^ K'^T-^-^
136 Studies for Sculpture - 1938
Chalk and wash - 7 1/8 x 10 1/4 ins.
Private Collection
i 1-
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,</
r\. J
r^c*-'
137 Ideas for Stringed Reclining Figures - 1938
Pencil - 77 x 7 7/4 ins.
i^\crx* - 3'x
138 Drawings for Stringed Figures - 1938
Coloured chalk, wash, pen, and pencil - 10 1/4 x 7 7/2 ins.
139 Page of studies with drawing for Reclining Figure - 1938
Pencil - 7 318 X 10 15/16 ins.
r ^ ^
140 Page from Sketchbook - Upright Internal/External Forms - 1938/39
Pencil - 10 7/8 x 7 7/2 //u.
i^\r^*C- 34.
142 Ideas for Sculpture - 1939
Pen, chalk, and pencil - 7 114 X 11 ins.
^ 141 Projects for Sculpture - 1939
Pen and pencil - 11 X 7 lj4 ins.
Private Collection
H
f «l/h. Tf^ c^c ;^ }jf"\ 1
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SwiiV»^' .i:
X-x ^u>-
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I
143 Notes about " Shelter" drawings - c. 1941
Pen and pencil -83/8x5 3/8 ins.
144 Inside cover of sketchbook - Sculptor Carving a Colossal Figure - c. 1941
Pen, chalk, and wash -87/8x6 314 ins.
fg^^^SU^
145 Page from sketchbook - Mother and Child - 1942
Coloured chalk and pencil - 7 i/4 X 5 1/2 ins.
•^ttTiiH^^..
146 Girl Playing Piano, Head, and Dog - 1942
Crayon, pencil, and wash - 8 3/4 x 6 J/2 ins.
147 Ideas for Sculpture - Reclining Figures
Chalk, pen, and wash - 9 y. 7 ins.
- 1942
148 Abstract Motifs - 1943
Pencil, crayon, and watercolour - 7 x 9718 ins.
Private Collection
a^.
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•; -^-.-^"*
/x-3
149 Seventeen Sculptural Motifs - 1943
Crayon and watercolour - 7 x JO ins.
Private Collection
150 Abstract Motifs - 1943
Pen, crayon, and watercolour - 10 x 7 ins. approx.
Private Collection
151 Sculptural Motifs - 1943
Pencil, crayon, and watercolour - 10 7/8 x 7 J/2 ins.
Private Collection
i((m'''152 Two Family Groups - 1943
Pen, crayon, and wash - 10 3/4 x 4 3/4 ins.
Private Collection
1
imv^^iy iwii
153 Two Family Groups - 1943
Pen, crayon, and wash - 10 x 4 5/8 ins.
Private Collection
154 Page from sketchbook - Family Groups - 1944
Crayon, pencil, and wash -9x63/4 ins.
Private Collection
155 Family Groups - 1944
Pen, pencil, and crayon - 8 J/4 x 2 1/2 ins.
Private Collection
156 Page from sketchbook - Reclining Figure (Holes) - c. 1945
Pen and wash -5x7 ins.
fi
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4
f-^cf
V57 Page firom sketchbook - Ideas for Rdief SaJptmr - 1945
5314 X 7 iBL
(^ nt^k-'f
158 Child Studies {Mary) - 1946
Pen - 8 X 6318 ins.
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159 Child Studies (Mary) - 1946
Pen - 8 X 6318 ins.
r\jrn-^U U"
160 Mother and Child {Irina Nursing Mary) - 1946
Pen and wash -8x6 318 ins.
162 Rocking Chairs - 1948
Pencil, ballpoint pen, white chalk, and blue wash - 7 y. 10 ins.
-^ 161 Ideas for Sculpture - Seated and Reclining Figures - 1947
Pen, chalk, and watercolour -9x7 ins.
Private Collection
163 Page from sketchbook - Helmet Heads - 1948
Pen, chalk, and watercolour -11 1/2 x 9 1/2 ins.
164 Ideas for Sculpture - Internal!External Forms
Chalk and wash - II 112 x 9 3/8 ins.
Collection Stephen Cardill Esq., London
- 1949
yv^irsf^4-1
165 Ideas for Sculpture - Reclining Figures - 1949
Pen and wash - 11 114 x 9 ins.
Private Collection
166 Ideas for Sculpture - Standing Figure and Reclining Figures - 1950
Pen, crayon, and wash - 11 112 x 9 1/2 ins.
Private Collection
167 Drawing for Sculpture - Reclining Figures
Pencil, crayon, and wash - N 1/2 x 9 J/2 ins.
Private Collection
1950
168 Detail of page from sketchbook - Reclining Figures on Music Lines - 1950
Pencil and ink - 2 x 11 ins. approx.
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/
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169 Girl Smoking - 1950
Pencil, crayon, and wash - 5 IjS x 7 1/8 ins.
170 The Fortune Teller - 1950
Pen, pencil, crayon, and wash - II 112 x 9 J/2 ins.
171 Life Drawing - Three-Quarter Figure - 1950
Pen, crayon, and watercolour -11 1/2 x 8 ins.
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172 Head of Boy - 1950
Pen, pencil, crayon, and wash - 10 1/4 x 5 1/4 ins.
o
173 Drawing for Sculpture - Helmet Heads - 1950
Crayon and gouache -II 1/2 x 9 ins.
174 Drawing for Sculpture - Head - 1951
Chalk and wash - 9 112 x 5 3/4 ins.
Private Collection
175 Mother and Child - 1951
Chalk, crayon, pencil, and wash
Private Collection
11 112 -K 5 1/2 ins.
176 Standing Figures - 1952
Pen, crayon, and watercolour - 7 x 10 ins.
Private Collection
^-y^ 'H,
111 Drawing for " Crucifixion " Sculpture - 1954
Pencil and wash - 11 112 x 9 3/8 ins.
*
^ct?^
178 Ideas for " Crucifixion " Sculpture - 1954
Pencil and wash - 10 J12 x 9 7/2 ins.
Private Collection
h f\/\(^
179 Man Holding Rabbit - 1954
Pen -61/2x5 J/4 ins.
180 Head of Woman - 1955
Pencil - 7 718 X 9 318 ins.
\c,vyV"^^>»<^-^ ^^.- <v- ^ U'J^f^
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181 Page 3 from " Heads, Figures, and Ideas " Sketchbook - Arthritic Hand- 1953/56
Pen and pencil - 8 314 x 6 7/8 ins.
182 Studies of Girl at Desk {Mary Doing Homework) - 1956
Pen - 11 112 X 9 114 ins.
183 Standing Figures - 1956
Pen - 10 114 X 8 1/2 ins.
184 Page 97 from " Heads, Figures, and Ideas " Sketchbook - Half-Figure Girl - 1956
Pen - 8 314 X 6 718 ins.
185 Seated Figures - 1957
Chalk and watercolour - 8 1/2 x 4 3/4 ins.
186 Seated Figures - 1957
Chalk and watercolour -81/2x4 3/4 ins.
"t
187 Half Figure - 1959
Coloured chalk and wash - 11 3/8 x 9 1/4 ins.
188 Idea for Sculpture - Square Form - 1959
Black and red chalk - 11 114 y. 9 1/2 ins.
189 Seated Figure - 1959
Chalk and wash - 11 318 x 9 1/4 ins.
190 Idea for Sculpture - Head with Hair-do - 1959
Black and red chalk and wash - 11 114 x 9 318 ins.
191 Ideas for Sculpture - Heads 1959
Pencil, black, red chalk, and wash - 11 112 y. 9 3/8 ins.
ir^
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192 Idea for Sculpture - Torso - 1959
Black chalk and wash - 11 114 x 9 3/8 ins.
193 Page IV from a sketchbook (1961/62) - Two Reclining Figures
Crayon and watercolour - 11 1/2 x 9 1/2 ins.
Private Collection
1961
194 Page VII from sketchbook (1961/62) - Sculptural Idea III
Ink, pencil, crayon, and watercolour - II 1/2 x 9 1/2 ins.
Private Collection
- 1961
195 Page VIII from sketchbook (1961/62) - Two Figures - 1961
Pencil, crayon and watercolour -11 1/2 x 9 1/2 ins.
Private Collection
196 Page IX from sketchbook (1961/62) - Animal Head - 1961
Pencil, crayon, and watercolour - 11 112 x 9 Ijl ins.
197 Page XIV from sketchbook (1961/62) - Three-Piece Reclining Figure - 1961
Pencil, crayon, and watercolour -11 1/2 X 9 1/2 ins.
Private Collection
198 Page XVI from Sketchbook 1961/62 - Two-Piece Reclining Figures - 1961Crayon and watercolour ~ 11 112 X 9 1/2 ins.
Private Collection
x^
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#:
199 Gourd Women {Fruit Women) - 1964
Coloured inks and crayon -11 3/8 x 9 1/8 ins.
200 Pot Women - 1964
Watercolour, chalk, ink, and wash - 11 318 X 9 318 ins.
201 Seated Woman - 1966
Watercolour - ]J 1/2 x 9 1/2 ins.
202 Reclining Figures with Central Composition
Pen and watercolour - II 1/2 X 9 1/2 ins.
1966
203 Group of Standing Women - 1966
Watercolour - JJ ]/2 x 9 J/2 ins.
(4
204 Reclining Mother and Child - 1966
Watercolour - 11 lj2 ^ 91/2 ins.
a-
205 Half Figure - 1966
Coloured inks and ballpoint pen on tissue paper 11 112 X 9 114 ins.
206 Three Ideas for Sculpture - 1967
Pen and coloured inks - 11 112 y. 9 1/2 ins.
I
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207 Pen Exercise, No. XV - 1970
Pen {black, purple, and orange ink) - ]0 x 6 718 ins.
0/\^^^f^ 7<^
208 Storm at Sea - 1970
Pen - 6 314 X 10 ins.
209 Six Sculptural Motifs, No. VIII - 1970
Pen - 10 X 6 3/4 ins.
I>
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210 Pen Exercise, No. X - 1970
Pen - 10 X 6 314 ins.
7-
211 Two Standing Figures, No. XI - 1970
Pen - 10 X 6 7/8 ins.
r^.oi,- -y,
212 Two Standing Figures, No. XVPen and wash - 10 x 6 518 ins.
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180 illustrations, including 16 plates in full color
Price $7.50
THE EVOLUTION OF MODERN SCULPTURE:TRADITION AND INNOVATIONText by A. M. Hammacher
404 illustrations, including 27 hand-tipped plates
in full color
Price $25.00
HISTORY OF MODERN ARTPAINTING SCULPTURE ARCHITECTUREText by H. H. Arnason
1,393 illustrations, including 264 plates in full color
Price $25.00
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HARRY N. ABRAMS, INC.
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Printed in Italy
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